“Victory Mixture” is a 1990 album by Willy DeVille. The album consists of cover versions of New Orleans R&B and soul classics by DeVille’s musical idols.
Trouser Press said about the album, “A rootsy covers collection, Victory Mixture provides a welcome antidote to Miracle's misguided modernity, making the most of the singer's relocation to New Orleans with backup from such local legends as Allen Toussaint, Eddie Bo and Dr. John."Victory Mixture is unusual in that it was recorded without the use of overdubbing or sound editing, the idea being to record the songs in the same manner as they were recorded originally in the 1950s and early 1960s - without soundboard technology.
Willy DeVille (born William Paul Borsey Jr., August 25, 1950 – August 6, 2009) was an American singer and songwriter. During his thirty-five-year career, first with his band Mink DeVille (1974–1986) and later on his own, Deville created original songs rooted in traditional American musical styles…
The roots of American music, including the blues, R&B, and Cajun music, gave Willy DeVille's (born William Borsey) late-'70s punk band, Mink DeVille, its unique flavor. A quarter of a century later, DeVille continued to blend musical traditions and postmodern intensity. A self-taught guitarist, DeVille found his early inspiration in the blues of John Hammond Jr., Muddy Waters, and John Lee Hooker.
After Le Chat Bleu, this Mink DeVille record foretold the depth and dimension of Willy DeVille's talent and the lengths he would go to as a vocalist and songwriter to get the right mix of emotion, drama, and rock & roll attitude. Featuring the core band from Coup de Grace – Louis Cortelezzi on sax; Kenny Margolis on keyboards, including accordion; DeVille and Rick Borgia on guitars; and Tommy Price on drums – the seam in the album comes on the second track, "River of Tears," with its stunning soprano saxophone lines, marimbas, accordions, and howling, raw, Gato Barbieri-like tenor lines in the choruses. When DeVille sings, "Every night lonely, empty dreams/Here comes that tide washing over me/Not again/Oh no/Not again/I don't want to cry/But there's tears in my eyes/I don't want to cry/That river of tears," the horns and accordion swirl around him until the final 16 measures, when the guitars and marimbas envelop all his loss in their warmth. His voice is the grain of every rock & roll lothario's Waterloo. DeVille follows this with a scorching Cuban son called "Demisado Corazon," featuring full salsa horn and percussion sections.
Dix ans après son premier Best of, Vanessa Paradis sort ‘Best of et Variations’. Le CD1 regroupe les singles les plus marquants de la carrière de Vanessa, de Joe le taxi à Il y a en passant par Tandem et Divine Idylle… Il inclue aussi les nouveaux singles de Vanessa depuis La Seine à ceux des albums ‘Love songs’ et ‘Les Sources’. Et bien sûr le tout nouveau single inédit Vague à l’âme sœur qui ouvre ce premier CD.
The Princess Bride is a soundtrack album by British singer-songwriter and guitarist Mark Knopfler, released on 12 November 1987 by Vertigo Records internationally, and by Warner Bros. Records in the United States. The album contains music composed for the 1987 film The Princess Bride, directed by Rob Reiner. The album features the song "Storybook Love", written and performed by Willy DeVille and arranged by Mark Knopfler. In 1988, the song received an Academy Award nomination for Best Original Song.
On Memphis, Boz Scaggs pays tribute to the city's magnificent soul tradition, Al Green, and producer Willie Mitchell and his Royal Recordings studio, whose location and personnel were used to cut it in three days. Produced by drummer Steve Jordan, the core band includes the singer and Ray Parker, Jr. on guitars, and bassist Willie Weeks, augmented by the Royal Horns & Strings, a small backing chorus, sidemen, and guests. Green's influence is celebrated in the opener, Scaggs' "Gone Baby Gone." Its wafting B-3, Rhodes, fluid electric guitars, and a tight backbeat underscore his baritone croon to excellent effect. If there were doubts about the quality of his voice at this juncture, they're immediately dispelled when his sweet falsetto emerges. In his cover of Green's "So Good to Be Here," Scaggs references him but digs deeper into his own trick bag with more rounded, earthier highlights.